Are you an artisan designer from a remote region, creating stunning fur fashion but still wondering how to break into the "big time"? Maybe you can learn from the experience of Jane Avery, a designer from New Zealand's South Island, who recently crossed the world to show her wares on a catwalk in Vancouver.

Truth About Fur: You launched the Lapin label in 2017, combining exotic fabrics with the fur of invasive wild rabbits, responsible for tremendous ecological damage in New Zealand. Your garments are spectacular and your environmental message is strong, so last November you accepted a longstanding invitation to show your wares on the other side of the planet. Is the New Zealand market too limiting for you? Is the urge to go international just irresistible? And aren't there other major fashion weeks closer to home than Vancouver Fashion Week (VFW)?

SEE ALSO: New Zealand designer embraces wild rabbit "eco-fur". Truth About Fur.

Jane Avery: Ever since I started Lapin, my intention was to “go international”. New Zealanders are notorious for wanting to leave our islands and seek their fortune in the big blue yonder. It’s part of our national character as isolated Antipodeans. So in the eyes of my fellow Kiwis, it’s certainly good for Lapin to earn kudos as an “international adventurer”. This is where I make my living after all, and we love it when a plucky compatriot takes a New Zealand story to the world.   

New Zealand keeps me plenty busy fulfilling client work, but I am curious to know whether Lapin can succeed beyond these shores. And the Northern Hemisphere is the obvious choice for anyone in fur fashion.

There's a traditional appreciation of fur in northern countries, both cultural and because some can be so cold. In contrast, the majority of New Zealand’s fashion audience is in the sub-tropical North Island in cities like Auckland. Given the warmer climate, people there may like my work but they don’t necessarily see it as relevant to their wardrobes. I guess Australia's Melbourne Fashion Week might be a future aspiration for me, as it gets cold enough there in winter.

As for being drawn by the dream of hitting the big time, I think my coats and jackets would look wonderful on red carpets and certain global celebrities.

TAF: Canada certainly has a strong fur tradition, but was there anything in particular that drew you to Vancouver?

JA: It attracted me for a few reasons, both personal and professional.

On a personal level, Vancouver was my husband's home during his tertiary education, so it’s a familiar haunt and we have good friends to stay with.

From a fashion perspective, I considered both the city and the fashion show. At first glance, the city's style may seem to be dominated by puffer jackets and camel overcoats, but there’s also a quiet yet definitive fashion presence there – an "if you know, you know" kind of vibe.

As for the show itself, since VFW was founded in 2001, it has grown to become the second-largest fashion week in North America, after New York.

It provides a platform for designers to show their wares both to a local audience and also, thanks to the digital age, international fashion-watchers too. It does a great job of distributing images to a plethora of fashion-related businesses, including other shows, PR companies, buyers and stylists – everyone with their eyes peeled for potential talent.

TAF: You actually launched Lapin at a smaller fashion week in New Zealand's Dunedin, so VFW was not your first. During the seven years between Dunedin and Vancouver, how did you keep moving forward?

JA: iD Dunedin Fashion Week is an excellent platform for emerging designers in its own right, for getting noticed in our part of the world and also further afield thanks to the Internet. I was spotted, and in the weeks that followed, I received several offers to show by, among others, VFW.

But even though these offers intrigued me, I held them at arm's length. Showing at an international fashion week, no matter how close to home, is a big investment, especially for a new business. It was important for me to establish Lapin within New Zealand first, and eye the big wide world from afar for a while.

Also bear in mind that slow fashion is slow, and I’m only one pair of hands. It would be quite impossible for me to show a new collection every year or even every two years. I struggle with the reality of not being able to realise all of my fabulous ideas in a more timely manner. But hey, I am extremely privileged to be able to work independently in my chosen field, and satisfy the desires of clients paying for my work. It’s amazing really.

So I kept busy, for example producing my own show in 2018, also in Dunedin, in collaboration with a local jewellery designer. And in 2019 I hosted a workshop at my studio. Then came Covid and the years of "pivoting" happened. I supplemented my Lapin work with vintage fur up-cycling and cultivating clients for possum fur decor. Then in 2022 and 2023 we had major family issues, which meant Lapin couldn't take centre stage.

SEE ALSO: Recycling vintage fur New Zealand style. Truth About Fur.

TAF: And then in 2024 came VFW, which must have been a change of pace. What were you hoping to gain from the experience?

JA: When I committed to VFW, I felt like I was putting my dreams and schemes back on track.

Aside from gaining general fashion week experience, my primary objective was securing imagery. I knew that VFW puts out a high-end product devoted to showcasing designers well, so I was sure to come away with good photos and video of my work being worn by professional models on a well-lit, well-attended runway. And I’m pleased with the result. I now have plenty of good stuff for my various publicity avenues, and it'll keep the social media beast fed for a while.

Also, as I hoped, I’ve had a few more invitations to fashion weeks plus enquiries from big city PR companies.

So I’m happy Lapin is being noticed outside of New Zealand, and I now have the confidence to  show anywhere in the world.

TAF: You mentioned the importance these days of digital technologies in getting exposure for designers. Did VFW have any surprises for you?

JA: A big revelation for me was the sheer speed at which fashion images get out now, and viewers react. The posting of photos on Instagram was so fast and furious, it took me days to unravel the likes, shares and message requests!

There were some thrilling surprises too. Digital fashion platforms that featured my looks included Vogue Italia and Vogue México! Imagine seeing my brand on the same page as the “V” word!

I also dipped my toe into the world of fashion influencers and digital creators. I made a genuine connection with a fashion-forward lass from Vancouver Island, Josie Amanda Boulding. She was sitting front row for the Lapin show, and posted the next day how my presentation made her think about fur differently. At New York Fashion Week this February, Josie will be there wearing her Lapin "Incognito" jacket. An "advance guard", I call her!

TAF: How about sales? Did you manage to make any while in Vancouver?

JA: I tried, but it was harder than I thought.

As an artisan designer making bespoke pieces, it’s never been my plan to court major store or boutique buyers. Instead I aim to present to fashionable individuals looking for something exceptional. Still, I thought I stood a fair chance of making some sales while in the city.

But it's difficult for a small brand all the way from New Zealand to generate local media attention, and while VFW profiles the season’s designers on its website and social media, and issues press releases, there’s no venue for displaying wares other than at the catwalk show.

So instead, I arranged private appointments in a hotel suite for interested people to try and buy. But there was minimal uptake. That was all part of the learning experience, I guess!

TAF: So overall, was VFW a positive outing for you? Would you advise other artisans dreaming of the big time to aim for a major fashion week too?

JA: Doing VFW was a big deal for me and I hope it was worth the effort, but quite frankly, I don't know yet. I've had my work recognised, and once again I've been able to tell people the environmental story behind Lapin. But whether major fashion weeks are an important promotional tool for designers like me, there are people far more qualified than I am to answer that. So I’m still in "wait and see" mode.

There are undoubtedly some positive takeaways, like all the professional photos and video you get of your work, that you can use as you see fit, and that appear in online fashion publications.

A word of caution though: if you're looking to get noticed in a world flooded with fashion images, be ready to invest a considerable amount of coin up front. Following up on just one of these invitations to show can cost a lot of money, so small businesses like mine can't say "yes" to all of them. Make good decisions and keep it real!

TAF: So what does the future hold?

JA: I hope I can take Lapin to an international stage again in the future, be that another fashion week, a trade show, or some fantastic opportunity that hasn’t yet presented. But for now, it's back to the work table, and hopefully I can find time to make a few new Lapin pieces.

Lapin’s next outing is in March at the Wānaka A&P Show – real feet-on-the-ground grassroots kind of stuff.  I’ll have a small marquee in a field along with tractors and agricultural produce, displaying Lapin wares and promoting my services with a sign saying "Vintage Fur Clinic".  I’ll be inviting locals to bring along their old furs for a chat about upcycling possibilities. But make no mistake – it's not a backward step. Folk in the lower South Island are very sophisticated. It’s great down here, and the rest of the world should know it!

Meanwhile, I’ll keep asking the universe for a famous somebody to fall in love with my coats and wear one to a sparkling event!

Sadly, last month saw the passing of the Queen of Soul, Aretha Franklin. She was far too talented and independent an artist for anyone to ever claim her as their own, but there's no denying she wore fur with style. In later life, her stage performances incorporated a signature move of dropping her full-length mink or chinchilla on the floor to signify she was shifting into high gear. Rest in peace.

Spreading the Word

It's always great to see members of the fur trade using the media to spread our messages.

If you're happy with publicity and have something to say, make yourself available for interviews, like fourth-generation furrier Thomas Salomon who was recently featured in the South China Morning Post. In "Why furrier Yves Salomon dismisses the anti-fur movement that is sweeping fashion", Thomas pulls no punches. "What’s happening right now is just a fashion cycle," he says. "In fact, I call it the hypocrite cycle. It's easy for brands to cut [fur] out when it makes up less than 0.1 per cent of their turnover. Plus half the time these brands don’t have a consistent strategy.”

Another great way to get heard is to submit an op-ed piece, but they're a mixed blessing. With minimal editorial control by the media organisation, op-ed writers can speak freely to the point that they often just end up regurgitating propaganda. So it was a relief when Business of Fashion, after publishing an anti-fur tirade from an animal rights group, gave equal space to International Fur Federation CEO Mark Oaten and Vice-President Americas Nancy Daigneault, in "Fur: A reality check".

Easiest of all is writing letters to the editor, like this impassioned plea from a resident of New Hampshire, "Trapping, like hunting, is a conservation tool".

Rabbit Redux?

Rabbit fur is far more common than you might think, but it almost never makes its way into the collections of luxury brands. Now Jane Avery, from Dunedin, New Zealand, is bucking the trend with her stunning range of garments combining exotic fabrics with wild rabbit. And she's helping protect the environment at the same time, since rabbits are a real pest in her part of the world. Check out our interview: "New Zealand designer embraces wild rabbit 'Eco-Fur'".

Rabbit farming is alive and well too, in Aitkin County, Minnesota. The Nord Lake Rabbitry used to be a mink farm, but now raises rabbits for food and fur, rotating them with crops that benefit from the "phenomenal fertility" of rabbit manure.

On the Trapline

Fox chaser: A winter on the trapline is a new documentary film from the Canadian Broadcasting Corp. that follows a young Cree trapper's way of life in the northern Alberta wilderness. CBC's story and the official trailer are here, and if you're lucky enough to live in Canada, you can watch the full documentary here.

Much closer to home, Truth About Fur's Alan Herscovici reports on his experience "Spring muskrat trapping in Quebec" with Pierre Canac-Marquis, coordinator of the Fur Institute of Canada’s humane trap research and development program. “It’s a passion,” says Pierre. “It’s certainly not for the money; I’ll be lucky to get four dollars a pelt for these rats. But the farmers are happy we’re here, because muskrats undermine the stream banks with their burrows. That speeds erosion and they lose large strips of farm land along the drainage ditches."

Here are a couple of cautionary tales about what can happen when wildlife are left to their own devices for too long, with no management plan. Nutria are notorious for damaging wetlands, and there are so many on the US west coast now that they pose "a threat to California's environment similar to a wildfire or an earthquake." Meanwhile, Argentina and Chile are hoping to remove 100,000 beavers - originally introduced for their fur - because the North American natives have clear-cut the old-growth forest in Tierra del Fuego and Patagonia.

Fur Ban Bandwagon

The bandwagon of fur-ban stories keeps right on rolling, with two Californian cities front and centre. San Francisco's ban on fur sales, set to come into force next year, prompted the writing of "San Francisco bans everything", a tongue-in-cheek piece that would be funny except it's also true!

Meanwhile in Los Angeles, the city council is being asked to consider a fur ban of its own. This prompted another piece about the seemingly endless string of bans in California, "The fur flies in L.A. as city considers ban". If you want to send a message to the council explaining why a ban would be a bad move, ShoppersRights.org makes it incredibly easy.

Feel free to refer the LA council (or anyone else considering a ban) to our new blog post, "Proposals to ban fur sales are anti-ecological".

Odds 'n' Ends

Sightings of "urban coyotes" continue to rise in North American cities, while Montreal launched a hunt for one coyote believed to have attacked three children.

SEE ALSO: Will urban coyotes change the animal rights debate?

According to a survey commissioned by the Montreal SPCA, 72% of Quebecers expect their legislators "to adopt legislative measures and policies designed to ensure the welfare of the province’s animals.” That sounds fine, since the fur trade supports animal welfare too. But if you're looking to start writing letters to the editor, look out for headlines like this one from the Canadian Press: "Study: 70 per cent of Quebecers feel animal rights are an important election issue." Animal rights and animal welfare are not the same - a message we just need to keep repeating.

SEE ALSO: Animal welfare vs. animal rights: An important distinction.

In the battle to win fake-fur fans over to natural fur, we could have a new piece of ammo. Apparently the most widely used plastic, polyethylene, emits methane and ethylene as it breaks down, and both of these are greenhouse gases. We did not know that, and will be following closely!

We’re used to hearing polarised arguments about fur, either strongly in favour or strongly against. But many people hold views that fall somewhere in between. One such person is fashion designer Jane Avery, from Dunedin, New Zealand, who is garnering attention for her work with just one type of fur, wild rabbit, under the brand name Lapin (French for rabbit). So is she pro-fur or something quite different? Let’s find out …

Truth About Fur: According to Lapin’s website, you specialize in “limited edition, bespoke and one-of-a-kind garments.” Can you describe some of your garments?

Jane Avery: The coats and jackets I have made to date are a combination of New Zealand wild rabbit fur and beautiful top-quality fabrics. When I started out with this concept three years ago I used appropriate fabrics to hand in my stash. I also had the opportunity to travel to India where I sourced heavy silk vintage saris and traditional embroidered woollen textiles. What resulted was a collection of one-of-a-kind creations. I also make limited-edition, made-to-measure bespoke pieces incorporating new fabrics such as 100% wools.

I live in a cold part of New Zealand and creating coats with exceptional warmth yet still retaining elegance and indulgence in gorgeous textiles is my aim. My original concept was to make garments using rabbit fur panels for yokes, collars, cuffs and upper shoulders. The furrier I work with prepares these for me. The fabric sections are insulated with a 50% cotton 50% wool batting so they can match the warmth given by the fur. The same goes for the insulated sleeves of Lapin bomber jackets which have rabbit fur bodices trimmed with leather.

TaF: Tell us about the production process. How many hours go into each garment and do your prices reflect this?

Jane Avery: There is a lot of hand preparation before the sewing machine gets involved. Because fur isn’t sewn with seams like fabric is, I turn in and hand-baste the seam allowances on the fabrics in order to create clean, secure edges to attach to the fur. It’s an example of slow fashion in action and it’s certainly not high tech. Some coats can take up to 50 hours to make.

It’s been an intense development process (I am essentially a self-taught sewer of over 20 years) and I’m quite the perfectionist. There’s extensive handwork tailoring and securing the inside of the garment before the coat lining is bagged out and the inner sleeve is hand-sewn shut. What results is a highly finished garment that’s as close to perfect as I can make it.

Of course this attention to detail and made-to-measure process is reflected in the eventual price of the garment. Also the quality of the textiles and the fact that the fur passes through the hands of my rabbiter, tanner and furrier before it gets to me puts Lapin pieces in a higher price bracket.

SEE ALSO: I'm an artisan designer: Fur and leather keep me warm.

TaF: Who are your clients?

Jane Avery: My clients to date have been people who recognise the skill and dedication in crafting a Lapin piece and want to invest in something special that, well cared for, will take them through many years of pleasurable wearing. It’s my hope that Lapin pieces will become heirlooms handed between generations. For the vintage fabrics I’ve been repurposing, such as the saris and woollen paisleys, this has particular resonance. I adore the concept of well-preserved, pre-loved antique fabrics being given new purpose and continuing their usefulness and beauty in companionship with New Zealand Wild Rabbit Eco-Fur.

TaF: Historically, before the expansion of fur farming made mink and fox more affordable, rabbit was called “the great imitator” because it could be treated to resemble mink, ermine, fox, beaver, and even seal. Do you take advantage of this versatility and how?

Jane Avery: The way I came to using rabbit was not because I wanted to imitate or emulate furs from other countries, but because I saw a New Zealand pest-resource that wasn’t being used to its potential. Of course I’m very open to experimenting and learning how I can manipulate this wild resource in a fashion sense. I do dye a proportion of the skins I use jet black, and I’m looking forward to being able to afford dying in other colours. For the integrity of the Lapin brand and message, which is to promote the use of this specific pest resource, I feel it is important for it to retain its own special identity.

Wild Rabbit Eco-Fur

TaF: The Lapin website says you use “responsibly sourced New Zealand ‘Wild Rabbit Eco-Fur’.” What do you mean by “responsibly sourced” and “Eco-Fur”?

Jane Avery: Lapin rabbit furs are harvested from the eradication catch of New Zealand high-country rabbiters. The responsibility these workers have, employed by high-country station owners, is to control the rabbit populations. If the rabbits are left unchecked, they reach plague proportions. Historically and to this day they destroy thousands of acres of grazing land and also the delicate native vegetation characteristic of the New Zealand sub-alpine landscape, such as tussock grass. They cannot be allowed to stay. This is an imperative of the New Zealand high-country environment.

The rabbits for Lapin generally die from a sharp shot to the head and are sourced at nighttime when their eyes can be seen shining in the beam of the rabbiter’s spotlight. To my mind this is as close to an instantaneous death with as little suffering as possible. It is responsible in that it deals with the problem skilfully and with respect to causing the animal the least suffering.

Lapin fur can be considered an "Eco-Fur" because by wearing it you contribute to restoring the natural New Zealand environment. It is a pest resource which means the rabbits are not being purposely bred for their fur. My creative philosophy for Lapin is to use as much as I can of what I have available around me. The rabbits are here and must be dealt with. Yes, there is tragedy in the deaths of these sentient beings, but I believe my view is one of practicality and realism. Wearing the fur of these animals can be considered a "woke" alternative to indulging in other furs, be they farmed or faux.

SEE ALSO: Is it ethical to produce, buy or wear fur?

TaF: Most rabbit fur today comes from young animals bred for food, but the best pelts are said to come from adult wild rabbits that are taken in winter, when the fur is thick and even. Are you selective about the pelts you use?

Jane Avery: I am selective about the pelts I use. As a wild catch, it is variable in quality. I’m fortunate to work with a rabbiter who will grade the best pelts for me in the course of his work. The season here in New Zealand for optimum skins runs in winter from July to October when the chilly southerly winds are blowing into the New Zealand South Island high country. This means the rabbits have their winter coats on and are not moulting.

I like to use thick, fluffy furs with firm yet pliable skins suitable for construction in bomber jackets and structured coats. I also love the way many of the young doe rabbit furs are so sleek, smooth and floppy. These are great for scarves, capes and more unstructured styles. I am still experimenting with what is possible and learning so much every time I get a new batch of furs to work and create with.

So Does Rabbit Fur Shed?

TaF: Rabbit fur has a reputation for shedding easily, causing uneven patches in the fur. Is this reputation deserved, and are there ways to minimise shedding?

Jane Avery: The way to minimise shedding is to harvest during the winter when the animals are holding onto their fur for warmth. When I started out, I tested furs by continually rubbing and shaking them. My view is if you get them at the right time of year the shedding is tolerable.

Rabbit fur is what it is. It’s a natural resource and even with its reputation for shedding is a beautiful, practical material worthy of inclusion in high-end garments. Looked after well, it will look good and retain its warmth-giving properties for many, many years. It’s important to look after it properly such as being aware of not continually slinging leather bag straps on your shoulder or rubbing with car seatbelts. At least when it sheds you know the little bits are safely bio-degrading in the environment and not polluting the planet like the microfibres shed from synthetic “furs”.

TaF: Possums are also considered a pest in New Zealand. Is possum fur something you’d consider using?

Jane Avery: Lapin was founded on the notion of creating attention for the very under-utilised pest-resource of New Zealand wild rabbit. However it is just a name and I’m certainly not closed to using New Zealand possum fur as my business grows. From an aesthetic point of view, I like possum fur when it has been shorn down to a nice soft pile. As with rabbit fur, the creative possibilities with this pest, notorious for destroying our native forest habitats, are many.

TaF: Another source of fur which has a small but growing following is vintage furs which are remodeled and recycled. Is this something you would consider doing?

Jane Avery: I like the idea of repurposing vintage furs, and yes, it’s something I’m open to working with as my business develops. From my own wardrobe I wear a vintage chinchilla-rabbit coat which I found in a Salvation Army op-shop. It sheds like you wouldn’t believe so I’m banned from sitting in my son’s plush car seats when I have it on!

SEE ALSO: 5 great ways to recycle old fur clothing.

TaF: How do you feel about using farmed fur, such as mink or fox? An argument in favour of using farmed fur is that it takes pressure off wildlife populations, and in fact most of the demand for fur these days is met with farmed fur.

Jane Avery: Personally I would not use farmed fur for Lapin. It would be contradictory to Lapin’s essential message and philosophy.

I feel I am well enough informed about the whys and wherefores of fur farming and I understand the animal welfare standards are generally high, and in many cases higher than other industries exploiting animals for their meat and skin. As a sewer I also respect the tradition and craftsmanship of the fur industry.  But farmed fur is not something that I would purposely seek out as a product to work with.

I find reassurance in the fact that New Zealand wild rabbits, an introduced species, are essentially having a marvellous time living natural, free lives, eating and breeding in the great outdoors. At least when they meet their deaths at the hands of a rabbiter they are free, albeit in the wrong place in the world. If they were not an ecological problem in this country, I would not be exploiting their fur for fashion, nor would I seek out other furs … aside perhaps for possum.

TaF: North America has its own problems with invasive nutria as well as indigenous furbearers that cause problems if their populations are not managed. For example, muskrats destroy marsh habitats, beavers cause flooding, and coyotes prey on livestock and are expanding into urban areas where they prey on pets and bite children. Are you supportive of using these species for their fur, provided it is done sustainably?

Jane Avery: To me it’s all about context. The world we live in is so very different to the world of 150-200 years ago. Sure, North America has its problems with invasive species too, and certain situations demand certain responses. If it’s deemed these animals must be "sustainably" culled then it would be disrespectful not to make practical use of their fur.

With the New Zealand rabbits, the context is created by human history. The tragedy is that they were introduced to this country in the first place.

I believe anyone in the business of exploiting animals for what they can provide to humans should check their moral compass on a regular basis. We shouldn’t necessarily do things just because that’s the way we’ve always done them. Everything must be considered within its realistic context and with the good of the environment central to decision-making.

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SEE ALSO: Inside a rabbit fur fashion designer's 10 sqm solar-powered eco cabin in Central Otago. This NZ Life.